By David Cunningham, Nigel Mapp
Regardless of the new upsurge of curiosity in Theodor Adorno's paintings, his literary writings stay usually overlooked. but literature is a significant aspect in his aesthetic idea. development at the present emergent curiosity in sleek philosophical aesthetics, this ebook bargains a wide-ranging account of the literary parts of Adorno's considering. Bringing jointly unique essays from a individual overseas workforce of members, it bargains the reader a ordinary direction during the significant components of Adorno's paintings during this region. it's divided into 3 sections, facing the idea that of literature, with poetry and poetics, and with modernity, drama and the unconventional respectively. whilst, the ebook presents a transparent experience of the original traits of Adorno's philosophy of literature by means of severely touching on his paintings to a few different influential theorists and theories together with modern postmodernist concept and cultural reviews.
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D. Lachterman, H. Eiland and I. Balfour, in Selected Writings, vol. 1, ed. M. Bullock and M. W. Jennings. Cambridge, MA: Belknap/Harvard University Press, pp. 116—200. Bowie, A. (1997), From Romanticism to Critical Theory: The Philosophy of German Literary Theory. London and New York: Routledge. Danto, A. C. (1986), The Philosophical Disenfranchisement of An. New York: Columbia University Press. de Duve, T. (1996), Kant After Duchamp. Cambridge, MA: MIT Press. Greenberg, C. (1992), 'Towards a Newer Laocoon', in C.
This explains why Adorno is so critical of projects to reveal an originary language positively, or a synaesthetic overcoming of the alienated sensibility of enlightenment rationalization, or indeed a Gesamtkunstwerk that would overcome the alienation of the arts from one another. All these projects propose to recover the origin of culture immediately and thereby appeal to it in an inevitably mythic form. A NEGATIVE DIALECTIC OF THE ARTS The foregoing underpins, and is clarified by, Adorno's 'Art and the Arts'.
However, unlike Hegel, this dialectical unity is not positive, insofar as the difference of the arts is not finally rendered identical with the idea of art. For Adorno, the idea of art remains negative, since it is not able to render the particularity of each art internal to the self-determination of the idea of art: In contrast to the arts, art is something that forms itself, something contained potentially in each of the arts insofar as each must seek to liberate itself from the contingency of its quasi-natural aspects by going through them.